The Seven Deadly Sins of Poet Writers

Writing poetry sometimes is a deadly sin,                                               Poets, put your first sin in your poet's trash bin,                                          For the poem you begin you think will be fine,                                                  Might be poet's line begun with good solid line,                                        That employs poetic technique you have learned,                                    Ev"ry piece of advice readers could be yearned                                            To bask in, but your poem's great satisfaction,                                              You think is poem puzzle's gratification,                                                          Is but an incompleted closure of punch line,

That sins on your beginning, end, and poem line.

Worse than a poet's deadly sin of bad punch line,

Is cliche's second sin that makes poem benign,

But not cancerous, it is a run of the mill

Quality that is but familiar phrase's ill,

Editors and educated do but distaste,

Never take seriously, nor ever do paste,

To any publisher that you are ever let,

To a printing press of such distinguished set,

That your effortless flow of phrase and imagery,

Is but countless others incomplete synergy.

That punch line and cliche make first and second sin,

Poets, put the third, wrong rhyme, but in your trash bin,

For if you disregard a word's denotation,

Or do not consider well its connotation,

And meaning sacrifice in order to make rhyme,

Instead of reworking the problem with more time,

The poetic goal of rhyme scheme you achieve,

Is nothing you should give a king nor his liege,

For your poem message irreparable marred,

Does not create unified work, it leaves you scarred.

Remember to put a fourth sin in your trash bin,

All antiquated anachronistic word sin,

Of Shakespearean word sounds of thee, thy, and thine,

Use instead simple words, you, yours, your, and then dine,

With International Society Poets,

Who are published to everywhere for they know it,

We live not in a Dark Age this millennium,

Of prepositions, wherefore, whence, and whither done,

Old poem is, that elevates subject matter,

But it is not new modern way that is better.

New poets, beware of a fifth more deadly sin,

Too invented, made-up words worth but a trash bin,

For invented words mystify and intrigue some,

They perhaps add valuable sound device done,

You think will better them to any editor,

Who rejects your knowledge learned and asks you better,

Your word judgement and hastiness please take more time,

To find, real, precise words with meaning that's fine,

That has existent sense, not nonsense, that make place,

In good context printable to all human race.

The sixth deadly sin some poet writers begin,

That should always be put in your waste basket bin,

Is your significant arbitrary changes,

In diction, tone, and other element ranges,

That are errors in their proper consistency,

Called horses in midstream, they are words, you and he,

That refer to second and third persons you wish,

That become inconsistent inspiration's bliss,

But random changes in persons, rhyme and tone,

And bad meter effects that make editors moan.

Poets, the seventh, common deadly writers sin,

Is unintentional humors that make worse sin,

Their offending lines not removed of poem,

But wreak havoc upon the tone of a poem,

That most editors will but set them asunder,

In a paper trash can well fit for their blunder,

So don't change dramatic mood of your poem said,

Never let its dramatic point become too dead,

Always best careful draft your comical sin,

That you are not mocked and left in a trash bin.

The above allegorical advice and sin,

Its rhyming couplet form and adress are a win,

Its perfect, true , feminine, masculine rhyme,

Imperfect consonance, assonance and end rhyme,

At sin and sin, poem and poem, form and form,

Sin and bin, fine and line, let and set, tone and moan,

Changes and ranges, wish and bliss, distaste and paste,

Denotation and connotation, place and race,

Are 1, 2,  and 3 syllable rhythm and rhyme,

Within hexameter's 12 syllable line.

All stanzas have poetic techniques that make win,

My above stanzas should not be in a trash bin,

Because they have no invented, made-up word sin,

Nor antiquated anachronistic word sin,

They're 9, 10 line stanzas whole consistency,

Anaphora made resonance and euphony,

They're title, theme, beginning, content and end form,

Bettered grammar's syntax and couplet's rhyme form,

Word music echoes, tone, and humor's completion,

Fit to publish and acclaim to any nation.

This allegorical advice on the deadly sins of poet writers was any discussed in a learning lesson within one of my International Library of Poetry, Poetry Laureate Diploma lesson books. It was never this poem I composed in any couplet form. I was asked to make couplets for any lessons and send them in to a teacher Robyn Mitchell who graduated me in March 2002. She was teaching poetry that had to recognize, analyze and design lines of anaphora, repetition, refrain, resonance, euphony, address and epistrophe, rhyme schemations, rhythms and meters, and any poetic techniques. She gave me 100% for the first lesson done and then 94% for anything lesser. The final exam had one A average and one B for a poem run on too much for Olympic Game athletes. I had so blood haemhorraged of fractures in my left ankle and heel and been used any coronary artery rupture I ran on but the what she taught me was exam answered A level. Thank God for teacher who get their learning lessons done.